Classics are not only symphonies, operas, concerts and chamber music. Some of the most recognizable classical works appeared in ballet form. Ballet originated in Italy during the Renaissance and gradually developed into a technical dance form that required a lot of training from the dancers. The first ballet company to be created was the Paris Opera Ballet, which was formed after King Louis XIV appointed Jean-Baptiste Lully as director of the Royal Academy of Music. Lully's compositions for ballet are considered by many musicologists to be a turning point in the development of this genre. Since then, the ballet's popularity has gradually faded, "wandering" from one country to another, providing composers of different nationalities with the opportunity to compose some of their most famous works. Here are seven of the most popular and beloved ballets in the world.

Tchaikovsky composed this timeless classical ballet in 1891 and is the most frequently performed ballet of the modern era. In America, The Nutcracker first appeared on stage only in 1944 (it was performed by the San Francisco Ballet). Since then, it has become a tradition to stage “The Nutcracker” during the New Year and Christmas season. This great ballet not only has the most recognizable music, but its story brings joy to both children and adults.

Swan Lake is the most technically and emotionally complex classical ballet. His music was far ahead of its time, and many of his early performers argued that Swan Lake was too difficult to dance. In fact, very little is known about the original first production, and what everyone is accustomed to today is a reworking of the famous choreographers Petipa and Ivanov. Swan Lake will always be considered a standard of classical ballets and will be performed for centuries.

A dream in a summer night

The ballet Coppelia was written by French composer Léo Delibes and choreographed by Arthur Saint-Leon. Coppelia is a light-hearted story depicting man's conflict between idealism and realism, art and life, with vibrant music and lively dancing. Its world premiere at the Paris Opera was extremely successful in 1871, and the ballet remains successful today, being in the repertoire of many theaters.

Peter Pan

sleeping Beauty

Cinderella

Alexander Nikolaevich Scriabin Alexander Nikolaevich Scriabin is a Russian composer and pianist, one of the brightest personalities of Russian and world musical culture. Scriabin's original and deeply poetic creativity stood out as innovative even against the backdrop of the birth of many new trends in art associated with changes in public life at the turn of the 20th century.
Born in Moscow, his mother died early, his father could not pay attention to his son, as he served as ambassador to Persia. Scriabin was raised by his aunt and grandfather, and showed musical talent from childhood. At first he studied in the cadet corps, took private piano lessons, and after graduating from the corps he entered the Moscow Conservatory, his classmate was S. V. Rachmaninov. After graduating from the conservatory, Scriabin devoted himself entirely to music - as a concert pianist-composer he toured in Europe and Russia, spending most of his time abroad.
The peak of Scriabin's compositional creativity was the years 1903-1908, when the Third Symphony ("Divine Poem"), the symphonic "Poem of Ecstasy", "Tragic" and "Satanic" piano poems, 4th and 5th sonatas and other works were released. "Poem of Ecstasy", consisting of several theme-images, concentrated Sryabin's creative ideas and is his brilliant masterpiece. It harmoniously combines the composer's love for the power of a large orchestra and the lyrical, airy sound of solo instruments. The colossal vital energy, fiery passion, and strong-willed power embodied in the “Poem of Ecstasy” makes an irresistible impression on the listener and retains the power of its impact to this day.
Another masterpiece of Scriabin is “Prometheus” (“Poem of Fire”), in which the author completely updated his harmonic language, departing from the traditional tonal system, and for the first time in history this work was supposed to be accompanied by color music, but the premiere, for technical reasons, was held without lighting effects.
The last unfinished “Mystery” was the plan of Scriabin, a dreamer, romantic, philosopher, to appeal to all of humanity and inspire it to create a new fantastic world order, the union of the Universal Spirit with Matter.
A. N. Scriabin "Prometheus"

Sergei Vasilievich RachmaninovSergei Vasilievich Rachmaninov is the world's largest composer of the early 20th century, a talented pianist and conductor. The creative image of Rachmaninoff the composer is often defined by the epithet “the most Russian composer,” emphasizing in this brief formulation his merits in uniting the musical traditions of the Moscow and St. Petersburg schools of composition and in creating his own unique style, which stands out in the world musical culture.
Born in the Novgorod province, at the age of four he began studying music under the guidance of his mother. He studied at the St. Petersburg Conservatory, after 3 years of study he transferred to the Moscow Conservatory and graduated with a large gold medal. He quickly became known as a conductor and pianist, and composed music. The disastrous premiere of the innovative First Symphony (1897) in St. Petersburg caused a creative composer's crisis, from which Rachmaninov emerged in the early 1900s with a mature style that united Russian church song, outgoing European romanticism, modern impressionism and neoclassicism, all full of complex symbolism. During this creative period, his best works were born, with

P.I. Tchaikovsky is rightly considered a reformer of the ballet genre. In order to understand this, you need to imagine at least a little what ballet was like before him.

In the 19th century, before Tchaikovsky, there were three directions in ballet art: Italian, French and Russian schools.

At this time, it was not Russian ballets that had greater artistic significance, but French ones, primarily A. Adam and L. Delibes. One of the first romantic ballets “Giselle” by A. Adam revealed the content of the lyrical love drama not only in choreography, but also in music. It was he who became the immediate predecessor of Swan Lake.

If Russian composers did not pay much attention to ballet, they often inserted dance episodes into opera, in which music played a significant role. Thus, there were brilliant dance performances in two of Glinka’s operas. However, in them the ballet scenes embodied images of enemies (“Life for the Tsar” Poles), fantastic, magical images (“Ruslan and Lyudmila” dancing in the Chernomor gardens) and were only part of the action. However, it was the operas, and primarily Glinka's operas, that most prepared Tchaikovsky's ballet reform.

Tchaikovsky's innovation was manifested in the symphonization of the ballet. The composer imbued the score with intense thematic development and unity, previously inherent only in instrumental and operatic music. At the same time, he left all the specific features of the dance itself and the dance action, i.e. did not turn the ballet into a symphony with dance elements, did not liken it to opera, but preserved the dance suites and dances of traditional classical ballet.

The content of all three Tchaikovsky ballets “Swan Lake”, “Sleeping Beauty” and “The Nutcracker” is connected with a fantasy world. Tchaikovsky preferred fairy tales in ballet, and depictions of real life in opera. But nevertheless, the real and fairy-tale-fantastic worlds in all the composer’s ballets are intertwined in the same way as they are connected for each listener in a fairy tale. The enchanting, magical ballet action does not contradict the mysterious, beautiful, airy-weightless, but simple and very human images created by the genius of Tchaikovsky.

And now I would like to analyze in more detail three ballets by P.I. Tchaikovsky.

§ 1 “About the ballets of P.I. Tchaikovsky"

Tchaikovsky Pyotr Ilyich, Russian composer. In 1865 he graduated from the St. Petersburg Conservatory (student of A. G. Rubinstein). He was a professor at the Moscow Conservatory (1866-1878).

Tchaikovsky's work belongs to the peaks of world musical culture. He wrote 11 operas, 6 symphonies, symphonic poems, chamber ensembles, concertos for violin and piano, prod. for choir, voice, piano, etc. Tchaikovsky's music is distinguished by the depth of ideas and images, richness of experiences and exciting emotionality, sincerity and truthfulness of expression, bright melodicism and complex forms of symphonic development. Tchaikovsky carried out a reform of ballet music, deepened its ideological and figurative concepts and raised it to the level of contemporary opera and symphony.

Tchaikovsky began writing ballets as a mature composer, although his penchant for composing dance music manifested itself from the first steps of his creativity. Dance rhythms and genres rooted in everyday music were used by Tchaikovsky not only in small instrumental pieces, but also in opera and symphonic works. Before Tchaikovsky, music in a ballet performance had a predominantly applied meaning: while providing a rhythmic basis for the dance, it, however, did not contain deep ideas and figurative characteristics. It was dominated by routine and cliches; the same type of dance forms were adapted to embody a wide variety of subjects. Tchaikovsky's reform was prepared by the experience of implementing dance genres and forms in world classical opera and symphonic music, including in his own work, developed dance scenes in the operas of M. I. Glinka and other Russian composers, and the desire of advanced choreographers to increase the importance of music in a ballet performance. The essence of Tchaikovsky's reform is a radical change in the role of music in ballet. From an auxiliary element it turned into a defining one, enriching the plot and giving content to the choreography. Tchaikovsky's ballet music is “dansant”, that is, it was created taking into account its dance purpose, it embodies all the achievements accumulated in this area, it is theatrical because it contains characteristics of the main images, situations and events of the action, defining and expressing its development. At the same time, in their dramaturgy, principles and stylistic features, Tchaikovsky’s ballets are close to symphonic and operatic music, rising to the same level as the peaks of world musical art. Without rejecting traditions, without destroying historically established genres and forms of ballet music, Tchaikovsky at the same time filled them with new content and meaning. His ballets retain the number structure, but each number represents a large musical form, subject to the laws of symphonic development and providing wide scope for dance. Of great importance for Tchaikovsky are lyrical and dramatic episodes that embody key moments in the development of the action (adagio, pas d'action, etc.), waltzes that create the lyrical atmosphere of the action, suites of national characteristic dances, effective pantomime scenes that depict the course of events and subtle changes in the emotional states of the characters. Tchaikovsky's ballet music is permeated with a single line of dynamic development within a single number, scene, act, and the entire performance as a whole.

Ch.'s first ballet "Swan Lake" (op. 1876), in 1889 Tchaikovsky completed the ballet "The Sleeping Beauty" (1890, Mariinsky Theater, choreographer Petipa), Tchaikovsky's last ballet - "The Nutcracker" (op. 1891, staged in 1892, Mariinsky Theatre, choreographer Ivanov).

The reform of ballet music carried out by Tchaikovsky had a profound influence on the subsequent development of ballet art.

§ 2 Ballet “Swan Lake”

"Swan Lake". Of all the ballets created in the world, it is perhaps the most famous and popular. With Swan Lake, the world ballet theater began a new stage of its development, characterized by a close union of choreography and music, two main components of ballet art.

“Swan Lake” - as a masterpiece of world ballet - is not a specific performance by Petipa, Vaganova or Grigorovich. We are talking about a work created by Tchaikovsky, which was consulted by various choreographers and which already has a hundred-year stage history. “Swan Lake” is, first of all, Tchaikovsky’s score, on the basis of which performances were created, more or less successful.

While working on Swan Lake, Tchaikovsky, one must think, was well aware of the creative possibilities of the Bolshoi Theater ballet troupe. After all, the composer, as you know, was a very sophisticated ballet spectator. “From frequent visits (to ballet performances. - A. D.),- writes M.I. Tchaikovsky, - he acquired. understanding of the art of dance technique and the concept of “balloon”, “elevation”, “toe hardness”, etc. wisdom." 1

". On the eve of Faust, I watched, or, more accurately, “listened” to P. Tchaikovsky’s ballet “Swan Lake” in the same theater. Having read that I “listened” to the ballet, the reader will perhaps consider me an overly conscientious reviewer, a specialist obsessed with such painful honesty that even in ballet he does not for a minute forget the task to which he is assigned, strictly monitors every seventh chord and turns a blind eye to everything else. Alas!

The reader gives me an undeserved honor. If a serious person should not be interested in ballet, then with contrition of heart I must renounce the title of a serious person and the rights and benefits associated with that title. For anyone, but for me, the “Russian Terpsichore’s soulful flight” has an indescribable charm, and I have never ceased to regret that more gifted musicians do not share my weakness and will not devote their composing powers to this field , where, it would seem, there is such luxurious space for the whims of the imagination. With very few exceptions, serious, right-wing composers keep themselves far from ballet: whether this is due to prudishness, which makes them look down on ballet as a “low kind of music,” or some other reason, I can’t imagine decide. Be that as it may, P. I. Tchaikovsky is free from this stiffness, or at least once in his life he was free from it. And for this I thank him very much: perhaps his example will find imitators in his circle, in the highest spheres of the composing world. But with all my love for spectacles of this kind, at the performance of P. I. Tchaikovsky’s ballet I listened much more than watched. The musical side decisively prevails over the choreographic side. In terms of music, “Swan Lake” is the best ballet I have ever heard, meaning, of course, a whole ballet, and not a divertissement in operas such as “A Life for the Tsar” or “Ruslan and Lyudmila.” 2

The ballet “Swan Lake” was begun by Tchaikovsky in May 1875 and completed in Glebov on April 10, 1876. The composer himself put this date on the final manuscript of the score: “The end. Glebovo. April 10, 1876." At this time, individual numbers of the first acts were already being rehearsed at the Bolshoi Theater. And on February 20, 1877, Moscow heard a new work by composer Tchaikovsky, his first ballet - “Swan Lake”. Thus began the stage life of this masterpiece of Russian and world classics.

Publications in the Theaters section

Famous Russian ballets. Top 5

Classical ballet is an amazing art form that was born in Italy during the mature Renaissance and “moved” to France, where the credit for its development, including the founding of the Academy of Dance and the codification of many movements, belonged to King Louis XIV. France exported the art of theatrical dance to all European countries, including Russia. In the middle of the 19th century, the capital of European ballet was no longer Paris, which gave the world the masterpieces of romanticism La Sylphide and Giselle, but St. Petersburg. It was in the Northern capital that the great choreographer Marius Petipa, the creator of the classical dance system and the author of masterpieces that still do not leave the stage, worked for almost 60 years. After the October Revolution, they wanted to “throw the ballet off the ship of modernity,” but they managed to defend it. Soviet times were marked by the creation of a considerable number of masterpieces. We present five Russian top ballets - in chronological order.

"Don Quixote"

Scene from the ballet Don Quixote. One of the first productions by Marius Petipa

Premiere of the ballet by L.F. Minkus "Don Quixote" at the Bolshoi Theater. 1869 From the album of architect Albert Kavos

Scenes from the ballet Don Quixote. Kitri - Lyubov Roslavleva (center). Staged by A.A. Gorsky. Moscow, Bolshoi Theater. 1900

Music by L. Minkus, libretto by M. Petipa. First production: Moscow, Bolshoi Theater, 1869, choreography by M. Petipa. Subsequent productions: St. Petersburg, Mariinsky Theatre, 1871, choreography by M. Petipa; Moscow, Bolshoi Theater, 1900, St. Petersburg, Mariinsky Theater, 1902, Moscow, Bolshoi Theater, 1906, all - choreography by A. Gorsky.

The Don Quixote ballet is a theatrical performance full of life and joy, an eternal celebration of dance that never tires adults and to which parents are happy to take their children. Although it is named after the hero of the famous novel by Cervantes, it is based on one of his episodes, “The Wedding of Quiteria and Basilio,” and tells about the adventures of young heroes, whose love ultimately wins, despite the opposition of the heroine’s stubborn father, who wanted to marry her to rich Gamache.

So Don Quixote has almost nothing to do with it. Throughout the entire performance, a tall, thin artist, accompanied by a short, pot-bellied colleague portraying Sancho Panza, walks around the stage, sometimes making it difficult to watch the beautiful dances composed by Petipa and Gorsky. Ballet, in essence, is a concert in costume, a celebration of classical and character dance, where all the dancers of any ballet company have a job.

The first production of the ballet took place in Moscow, where Petipa visited from time to time in order to raise the level of the local troupe, which could not be compared with the brilliant troupe of the Mariinsky Theater. But in Moscow there was more freedom to breathe, so the choreographer, in essence, staged a ballet-memory of the wonderful years of his youth spent in a sunny country.

The ballet was a success, and two years later Petipa moved it to St. Petersburg, which necessitated alterations. There they were much less interested in characteristic dances than in pure classics. Petipa expanded “Don Quixote” to five acts, composed the “white act,” the so-called “Don Quixote’s Dream,” a real paradise for lovers of ballerinas in tutus and owners of pretty legs. The number of cupids in the “Dream” reached fifty-two...

“Don Quixote” came to us in a reworking by the Moscow choreographer Alexander Gorsky, who was keen on the ideas of Konstantin Stanislavsky and wanted to make the old ballet more logical and dramatically convincing. Gorsky destroyed Petipa's symmetrical compositions, abolished tutus in the "Dream" scene and insisted on the use of dark makeup for dancers portraying Spanish women. Petipa called him a “pig,” but already in the first adaptation of Gorsky the ballet was performed on the stage of the Bolshoi Theater 225 times.

"Swan Lake"

Scenery for the first performance. Big theater. Moscow. 1877

Scene from the ballet “Swan Lake” by P.I. Tchaikovsky (choreographers Marius Petipa and Lev Ivanov). 1895

Music by P. Tchaikovsky, libretto by V. Begichev and V. Geltser. First production: Moscow, Bolshoi Theater, 1877, choreography by V. Reisinger. Subsequent production: St. Petersburg, Mariinsky Theater, 1895, choreography by M. Petipa, L. Ivanov.

The beloved ballet, the classic version of which was staged in 1895, was actually born eighteen years earlier at Moscow's Bolshoi Theater. The score by Tchaikovsky, whose world fame was yet to come, was a kind of collection of “songs without words” and seemed too complex for that time. The ballet was performed about 40 times and sank into oblivion.

After Tchaikovsky's death, Swan Lake was staged at the Mariinsky Theater, and all subsequent productions of the ballet were based on this version, which became a classic. The action was given greater clarity and logic: the ballet told about the fate of the beautiful princess Odette, who was turned into a swan by the will of the evil genius Rothbart, about how Rothbart deceived Prince Siegfried, who fell in love with her, by resorting to the charms of his daughter Odile, and about the death of the heroes. Tchaikovsky's score was cut by approximately a third by conductor Riccardo Drigo and re-orchestrated. Petipa created the choreography for the first and third acts, Lev Ivanov - for the second and fourth. This division ideally answered the calling of both brilliant choreographers, the second of whom had to live and die in the shadow of the first. Petipa is the father of classical ballet, the creator of impeccably harmonious compositions and the singer of the fairy woman, the toy woman. Ivanov is an innovative choreographer with an unusually sensitive feel for music. The role of Odette-Odile was performed by Pierina Legnani, “the queen of Milanese ballerinas”, she is also the first Raymonda and the inventor of the 32nd fouette, the most difficult type of spin on pointe shoes.

You may not know anything about ballet, but everyone knows Swan Lake. In the last years of the existence of the Soviet Union, when elderly leaders quite often replaced one another, the soulful melody of the “white” duet of the main characters of the ballet and the splashes of winged hands from the TV screen announced a sad event. The Japanese love “Swan Lake” so much that they are ready to watch it morning and evening, performed by any troupe. Not a single touring troupe, of which there are many in Russia and especially in Moscow, can do without “Swan”.

"Nutcracker"

Scene from the ballet "The Nutcracker". First production. Marianna - Lydia Rubtsova, Klara - Stanislava Belinskaya, Fritz - Vasily Stukolkin. Mariinskii Opera House. 1892

Scene from the ballet "The Nutcracker". First production. Mariinskii Opera House. 1892

Music by P. Tchaikovsky, libretto by M. Petipa. First production: St. Petersburg, Mariinsky Theater, 1892, choreography by L. Ivanov.

There is still erroneous information floating around in books and websites that “The Nutcracker” was staged by the father of classical ballet, Marius Petipa. In fact, Petipa only wrote the script, and the first production of the ballet was carried out by his subordinate, Lev Ivanov. Ivanov was faced with an impossible task: the script, created in the style of the then fashionable extravaganza ballet with the indispensable participation of an Italian guest performer, was in obvious contradiction with Tchaikovsky’s music, which, although it was written in strict accordance with Petipa’s instructions, was distinguished by great feeling and dramatic richness and complex symphonic development. In addition, the heroine of the ballet was a teenage girl, and the star ballerina was destined for only the final pas de deux (a duet with a partner, consisting of an adagio - a slow part, variations - solo dances and a coda (virtuoso finale)). The first production of The Nutcracker, where the first act was predominantly a pantomime act, differed sharply from the second act, a divertissement act, was not a great success; critics noted only the Waltz of the Snowflakes (64 dancers took part in it) and the Pas de deux of the Sugar Plum Fairy and the Prince of Whooping Cough , the source of inspiration for which was Ivanov's Adagio with a Rose from The Sleeping Beauty, where Aurora dances with four gentlemen.

But in the twentieth century, which was able to penetrate the depths of Tchaikovsky’s music, “The Nutcracker” was destined for a truly fantastic future. There are countless ballet productions in the Soviet Union, European countries and the USA. In Russia, productions by Vasily Vainonen at the Leningrad State Academic Opera and Ballet Theater (now the Mariinsky Theater in St. Petersburg) and Yuri Grigorovich at the Moscow Bolshoi Theater are especially popular.

"Romeo and Juliet"

Ballet "Romeo and Juliet". Juliet - Galina Ulanova, Romeo - Konstantin Sergeev. 1939

Mrs Patrick Campbell as Juliet in Shakespeare's Romeo and Juliet. 1895

Finale of the ballet "Romeo and Juliet". 1940

Music by S. Prokofiev, libretto by S. Radlov, A. Piotrovsky, L. Lavrovsky. First production: Brno, Opera and Ballet Theatre, 1938, choreography by V. Psota. Subsequent production: Leningrad, State Academic Opera and Ballet Theater named after. S. Kirov, 1940, choreography by L. Lavrovsky.

If a Shakespearean phrase in a famous Russian translation reads “There is no sadder story in the world than the story of Romeo and Juliet”, then they said about the ballet written by the great Sergei Prokofiev on this plot: “There is no sadder story in the world than Prokofiev’s music in ballet”. Truly amazing in its beauty, richness of colors and expressiveness, the score of “Romeo and Juliet” at the time of its appearance seemed too complex and unsuitable for ballet. Ballet dancers simply refused to dance to it.

Prokofiev wrote the score in 1934, and it was originally intended not for the theater, but for the famous Leningrad Academic Choreographic School to celebrate its 200th anniversary. The project was not implemented due to the murder of Sergei Kirov in Leningrad in 1934, changes occurred in the leading musical theater of the second capital. The plan to stage “Romeo and Juliet” at the Moscow Bolshoi did not come true either. In 1938, the premiere was shown by the theater in Brno, and only two years later Prokofiev’s ballet was finally staged in the author’s homeland, at the then Kirov Theater.

Choreographer Leonid Lavrovsky, within the framework of the “drama ballet” genre (a form of choreographic drama characteristic of ballet of the 1930s-50s), which was highly welcomed by the Soviet authorities, created an impressive, exciting spectacle with carefully sculpted crowd scenes and subtly outlined psychological characteristics of the characters. At his disposal was Galina Ulanova, the most sophisticated ballerina-actress, who remained unsurpassed in the role of Juliet.

Prokofiev's score was quickly appreciated by Western choreographers. The first versions of the ballet appeared already in the 40s of the 20th century. Their creators were Birgit Kullberg (Stockholm, 1944) and Margarita Froman (Zagreb, 1949). Famous productions of “Romeo and Juliet” belong to Frederick Ashton (Copenhagen, 1955), John Cranko (Milan, 1958), Kenneth MacMillan (London, 1965), John Neumeier (Frankfurt, 1971, Hamburg, 1973).I. Moiseeva, 1958, choreography by Yu. Grigorovich, 1968.

Without Spartak, the concept of “Soviet ballet” is unthinkable. This is a real hit, a symbol of the era. The Soviet period developed different themes and images, deeply different from the traditional classical ballet inherited from Marius Petipa and the Imperial Theaters of Moscow and St. Petersburg. Fairy tales with happy endings were archived and were replaced by heroic stories.

Already in 1941, one of the leading Soviet composers, Aram Khachaturian, spoke of his intention to write music for a monumental, heroic performance, which was to be staged on the stage of the Bolshoi Theater. The theme for it was an episode from ancient Roman history, a slave uprising led by Spartacus. Khachaturian created a colorful score, using Armenian, Georgian, Russian motifs and full of beautiful melodies and fiery rhythms. The production was to be carried out by Igor Moiseev.

It took many years for his work to reach the audience, and it appeared not at the Bolshoi Theater, but at the Theatre. Kirov. Choreographer Leonid Yakobson created a stunning innovative performance, abandoning the traditional attributes of classical ballet, including dancing on pointe shoes, using free plasticity and the ballerinas wearing sandals.

But the ballet “Spartacus” became a hit and a symbol of the era in the hands of choreographer Yuri Grigorovich in 1968. Grigorovich amazed the viewer with his perfectly constructed dramaturgy, subtle portrayal of the characters of the main characters, skillful staging of crowd scenes, and the purity and beauty of the lyrical adagios. He called his work “a performance for four soloists with a corps de ballet” (corps de ballet are artists involved in mass dance episodes). The role of Spartacus was played by Vladimir Vasiliev, Crassus - Maris Liepa, Phrygia - Ekaterina Maksimova and Aegina - Nina Timofeeva. The ballet was predominantly male, which makes the ballet “Spartacus” one of a kind.

In addition to the famous readings of Spartacus by Jacobson and Grigorovich, there are about 20 more productions of the ballet. Among them are the version by Jiří Blazek for the Prague Ballet, László Szeregi for the Budapest Ballet (1968), Jüri Vamos for the Arena di Verona (1999), Renato Zanella for the Vienna State Opera Ballet (2002), Natalia Kasatkina and Vladimir Vasiliev for the State Academic Theater directed by them classical ballet in Moscow (2002).